Description

Immediate dispatch from Somerset. Nice older book in good condition. Some light tanning due to age. Year 1970. Hardcover. English. See images for condition.

About the book >.>.> This little book could not have been printed in its present form without the generous co-operation of Mr. Stewart Williams (in the sixth volume of whose Glamorgan Historian my short essay first appeared) and of Mr. W. D. John who lent the blocks for the beautiful colour plates. I am grateful to Mr. Williams for sanction- ing the separate publication of the original chapter and to Mr. John for first suggesting this better-dressed extension of the standard off-print. My own collection of Swansea pottery and porcelain which is historically representative rather than large or comprehensive began with a plate of the set pattern number 233 purchased before the Second World War from that genral and knowledgeable dealer the late Louis Goldstone. At about the same time. I had the good fortune to meet Kildare Meager whose friendship I cherished for twenty-five years till his death in 1964. From him I learned that Swansea porcelain despite its late appearance on the British scene was both interesting and exciting and as I am part susceptible to what Professor Glanmor Williams has aptly called as “fragile beauty” it is perhaps a good thing that limited means and small house have spared my wife the inconvenience of living in a domestic museum. For those who do not like collecting there are inexpensive ways of extending one’s knowledge without turning a home into an ostentatious clutter among which are visiting the impressive collections in the National Museum of Wales the Glynn Vivian Art Gallery and the Royal Institution of South Wales. In this reprint there are a few textual changes from the original version mostly minor emendations of style for like the butterfly poet in Capeks’ Insect Play my art changes so quickly that by the time I reach the end of any writing I have to alter the beginning There are other afterthoughts too such as my late discovery that in the reference to the Glynn Vivian Art Gallery’s “Crome 1969 (LL)